IT JL 



.G-4 



TT 360 
.G6 
Copy 1 




iKis- 'Vizard of ktt^r^raft " 



Copyright June, 1915, Gordon & George 






Wm. 



Qp 






moy be on omotcuu— 
moy be an expert— _ 
mu9t know. t>i' will \QQ\'ti,/j7/St 

—the more work you can do, 
—the belter you can do it, 
~ the quicker you can do it. 
/!ke greater w/7/ be i/our compensat/on. 




&RQAD-STROKE . 

LCTTCHmG ftns I 



X^\i\%Jjff/eTf^jd oP Modern lettercraft was 
devised, designed and is made wholly and- 
strictly from the Uttei^i-s standpoint.-—-- 
"--Every part, every feature, is just for this - 

gurpose. » la enable you to do more lettering" 
I less time and to do it betta; with less * 
effw't. than with any other pen or device in — 



an; 



^t 



*««<■„;.„.,, 



AUG -2 1915 













The original size 10x14 first spattered with air brush, t hrough stencil and lettered with "Speed Ball" pens No. 2 and 
3, white outlined with a brush. 



(I) 




S"tsL3nLcia.irci Alphabets 

a.bcd.efghijklm 
nopc[rstTJLVwxyz 

ABCDEFGHIJKL 
MNOPQRSTUVWX 
Y. 12 34 5e7690.Z 

Made by one-strotce Tnethod 
Original- size lO x i^ Time 7-46^-^ 



10x14 original, spatter border first and broken pen lines run diagonally, lettered with pens No. 3 and 4, in 7 minutes, 
seconds. 



(2) 




(3) 



vino Vie vitnat^abLc <^tULc^)fatiatiott6 that 
^^ cvtc yoiy^Md wiifi^ inly perv 

abcdefgtiijklmnopqrstuvwxyz. Phideas Hanifold 21 

abcdefg'hijklmnopqrstuvwxy Chicago. 

abcdefghijklmnopqrrsluvsj 

abc6(^hifklmnopqrstuaivxj/z&i manu others 2 

abcdBfghijklmnDpqrstuviDxyz- condensed gothic? 

^///ettemgr on this plate done with same pen 

ast'nj tkefht lettering shoe on oReside for fkekeavi/fi/pes. and turning the 
same pen over "Ori its ^sl<i)sl" wi/i produce these otlier popular sU/ies. 

Original 14x18, spatter decoration outlined. Lettering all done with pen No. 3, used both on front and back, showing 
the remarkable range of styles possible with the "Speed Ball." 



W; 



^m 



Original with white 
ink on black cardboard 

^j^ abcdefthiiklmn- . 
*** opqrstuvwxyz& *" 

ABCDEFGHIJKLMNOPQ 
RSTUV WXYZ& 

One Stroke lettering'- Reduced 4- times. ^^ 




Original 10x14 inches, using black R. R. Card, spatter bord^ 

(5) 



er, lettered with "Speed Ball" No. 3 in white ink. 




(6) 




BLOCK LETTERS. 

ABCDEFGHIJKL 
MNOPRSTUYWXY 

PLAIN GOTHIC 

ABCDEFQHIJKLMN 
OPORSTUVWXYZ. 



Original 10x14 stipple paper border, showing block and Egyption styles with No. 2 and 3 pens. Note square finish 
strokes. Pen held at right angles with paper, pointing straight at top of sheet. 

(7) 




A (EraftB A6aptatiott of (Pld^^ttsk 

$pee6-baU abcjJgfghijMmtl c^^^^ 
tiopjirstutrtDXg? 

ABCi)3^r«K)aiaimx'ji3i<D3P(a 

tDa$ longb. quick, bold-face $ti{le t$ suitable 

for 
(Dmamental l|eai}ing$. 



'saefBtmstMaeBUsaai 



^*'S!!J !? S™ *'? ?*!S ! SSy^ ' '* y^ 




Original 12x18 stipple paper and wax pencil border, bold face adaptation of old English with pen No. 1. 



(8) 




(9) 



SpeeHall Text. 
Qbc6efqhijMmnopqr 

ABCDEFGHIKJLM. 
NOPQRSTUVWXYZ 



A quick plain text, each principle finished in one stroke. The pen held pointing to upper left hand corner of paper 
produces diamond shape dot, or sharp pointed stroke. 

(10) 



Building' up letters 





with the speed-ball lettering* pen 

is 3 to 5 times faster and easier than with a brush or any other device. 

hijk 

ABCBEFGn 

absolutely free-hand work, no ruler used- 
every stroke counts as a finished part. 

Size of original 10 x 14 inches made with 119 2 pen. 

Original 10x14, showing constructive possibilities of the broad even stroke in building up or outlining square spur 
series of alphabets. 



(11) 



abcdefghijklm 
nopqrsluYwxy 

ABCDEFQHIJKLM 
NOPQRSTUYWXYZ 

Single Stroke Spurs 

The Main Body strokes made with N^ 2 Speed ball. The sharp 
spur finish added with SamePen turned over on its back.... 
using' hair-line point of broad. flat lettering* shoe. "2 in 1." 



Original on 10x14 card, spurred Egyptian made with No. 2 pen, spurs added with reverse point of same pen (pen 
turned over on its back). 

(12) 



K< 



<3fe>.< r 



■3OC1CK 




HAriD- LETTERED 
Ivcrlisitt^ - 

^fspld^ JTedjfrngs ^. 

The broad, even stroke of this pen is so accurate, so sure 
and so rapid, and admits of so many different styles, 
that it has met with universal commendation by all who 
have g-iven it a trial. 




:^-*^"Ck 



_55 5? S? 


\ji^^j^jf.n '^.M E 


Tir^. 


^■^■^ 


^<^«"X<«..".<j»«- 


IFJ*^ 



I 



^f'i 



Original 10x14 same border as No. 2 check effect added with square dels of No. I pen in black and white, very fast 
construction of letter in one stroke and outline, methods. 



(13) 



^§^m^(^^<i^^'fM0! 







Quarter card original, air brush stipple back ground, rapid show card Italics No. 2 round point "Speed Ball," lettered 
in 3 5 minutes. 

(14) 




(15) 



ABCDEFGHIJKLM 
NOPQI19TUVWXYZ 

qr 9 t\Jiv wwxyz 



i 



SHOWING FREE-HAND 

9- Stroke Coivstinjctioiv 




n 



Original 1 5x2 1 inches, No. 2 pen showing 2 strokes joined on heavy portion of letters, air brush stipple back ground 
through stencil border, white strokes running through outlined with No. 5 pen. 



CI 6) 



[^^^i^^=^_^t^^^:^''^^^J^^==^^ 



«:^ 



'-^ii^^?^:?^^^ 




ABCDErGtlJItLnNOPH 
QRSTU ® VWXYZ 



>.j'^^M':mamv '~i' 



».^-o;s>a 



31 

*5 



Original 1 35^x2 1 , black card mounted on stipple decorative border stunt, lettered with No. I pen in white ink. 



(17) 



El l =^ ^^< ^ i r?i i= ') C^ ^ 



^ 



THE^GE OF SPEED 

I abcdefghijklmy i 
^ nopqrstuvwxz ^ 



\ 



I 



^ 



^ ABCDEFGHIJKLM - 
NOPQRSTUVWXYZ 

the above alphabet, upper and lower case complete 
was made in four minutes and ten seconds with 
speed-ballpen np Q. - a typical product of tKiS; 

'''SheJg^ ofcSjpeed " 

iq i. XX y= '> fil<= x y ^ l |g| 



Original 10x14. Note free hand border with No. 2 and 3 pen. Alphabet lettered in 4 minutes, 10 seconds. 

(18) 







s'»i«i..jj; -v ^4f •^>- --*^^*=r«>i *«<^i,i>> iv< ; 









i^ 



Am"*- 







^ ^ 




•:• 



■;^n-JMa>»!to,-rw.ii^fla'.:^^-.-ir»»-imgffej.«<wg^y, 



Original size 10x14, air brush stipple, white border decoration inset with brush. No. 3 "Speed Ball" adaptation of 
the German Rundschrift style. 

(19) 



TKe Ever Popular Type 



Slvo-wiit^g^ tlve letters o-ix-tlitve^cJ itr^ 
oir^e S'tr'olke. 003nr^ple.iLe, ivo pSL^tcK.- 
iivg' '*jip,oi:» IhiriiTutifaiirvg', e'very irta^rlk., 
dLo-t or strolke yovi. itn.a.Tke witK. tKi® 
peirv is o£ -unrvifomx. tKiclkitve^©,- gpo- 
iivg* iir<^ a.i\y cILirecitioicv, -mp, cIcwtt^ on? 
si<dLe"w^s^ys 9 ovs^l 02? oiir^de . j^otQ Border 

mscde without I'ulev 



Original Card, 1 4x20. If you ever tried to make a quick skeleton or outline letter with an ordinary f>en, or brush, you 
will appreciate the ease with which this class of work can be done with a small "Speed Ball" pen. The small lettering on 
the above card shows outline construction to be filled in with one stroke. 

(20) 



'^Ke marking- poinl of the speed- ballpen is a perfectly 
square, flat shoe and when held al right angles with 
the paper it produces a square dot. "THUS'iaaaaaaaaa 
and when stroke is continued, in a.ny divection-, it is 
of even thickness throughout, the flo\Ar of ink or color 
being Jlutomatically Controlled- This position of the pen is 
•maintained in constructing- letters of the Block Series 

THusSIIIF ahir»H sincrlp-ctrnkp 



THUS HUE abed single-stroke 

JIgain- ty holding the point of the marhing shoe in the 
proper angle with the paper, the sqvtare shoe produces 
A diamond shaped dot- "THUS'^^^******* • ««♦♦♦♦ 
which continued as a stroke- m any direction, forms 
the principles and foundation of an entirely different 
series of modern alphabets 

THUS iJiabcd-HavanaSl 



Original with white ink on 15x21 black card showing the difference in characters obtained with same pen held at dif- 
terent angles while lettering. 



(21) 









''■'•Vr': 






Papid ShoCardStyle 

abcdefghijklm 
nopqrsiuvwxyz 

ABCDETGnURLAyM 
OPQR5TUVWXYZ5X 

1254507690 f 






m 



'■.;"*fr 



■^? 



A bold face type of rapid single stroke construction, most suitable for quick show card lettering, this is a familiar, readable 
alphabet; can be made with any size "Speed Ball" pen on cards up to the full sheet size. Original on 10x14 No. 3 pen. 

(22) 




e 




tzi o 



ll> I 



(23) 



OintHime Letterin^ 

made easily and rapidly witli ikis wonderful pen, 

aa bbccddeef f gglhhiijjkkll 
m m n nooppqq ff ss ttmvwxyz 

ABCDEFGIUKLMNOPQ 

swYAiMsmmwMi 



Showing- One-stroke, FREEHAND outline and construction of a rapidly 

executed, modified Roman Letter. NOTE the even tKicknees. square 
finish and graceful curves of each line throug-hout, made in any direction 
without trimming- up, retouching or chang'ing" position of pen-point or hand 
«-C9ny alphabet w^ith w^hich a person is familiar, can be made from three io 
iiwe times as fast as with the ordinary lettering pens, tools or devices. -.-<-« 

A careful analysis of the above constructive elements of modern rapid lettering demonstrates the time saving possibil- 
ities of this pen, every stroke counts, thickening up strokes and patching is practically eliminated. 



(24) 



KlB(2B(£F®fil ABCDEFGHI 
diimii^Vm JKLMNOPQR 

smmw^^iiz STUVWXYZ81 

Any one who can 5(<etcb in a letter with a pencil 
can operate a "speed-bdll pen - it works as easW^/as 
a pencil. ^6ing in any direction, up. docan. sideways, 
oval or circle, every stroke is a completed principle. 



The style variations made possible with the Little Wizard of Lettercraft is only limited by the capabilities of the indi- 
vidual operator. Type faces and characters heretofore considered impractical on account of the time consumed in the making, 
may be imitated at top speed and finished up almost as easily as sketched with a pencil. 

(25) 




(26) 



ror £reoj6/e 



^eatrical (glides' 



o\ artislic commercial, value 

Yott can cut t/our 
laSor in ha/f^and. 
your 1/ me jn two 
widi t/ie 




the ink feed Is 
^^ <iu.toma.t/c -fWs 
^itHdf)ord4n«tr/ 
difk ptevefnts flood 





st«?» •.■C' ^-* 



See next page for instruction in making theatrical and advertising lantern slides. Correct position of holding pen. 



(27) 



We Guarantee \Y^ Guarantee 

-that any article purchased from. ^hai any article purchased from 

us will satisfy you perfectly; that, „«. ^\]] s&hsfv vou perfectlv. thai 

it will give the service you have a j^ ^^n ^^^^ i][^ service voJ have a 

right to expect; that it represents Hg-h^ \a expecl; ihal il represenls 

full value for the price you pay. f„ii ^^\^^^ f^^ ^\^^ p^,^^ ^^^, ^^^ 

If you are dissatisfied we expect If you are dissatisfied we expect 

you to return it at our expense.We you to return i\ at our expense . 

will then exchange it for what you We will tlien exchang-e it for what 

want, or refund your money. you want, or refund vou r monev. 



Sears Roebuck fiCa 



■ '/frtcVvA ■/■ .-<,■ (''<) 



Bold face lettering will prove the best for making lantern slides. Compare these two plates — both styles may be 
made with the "Speed Ball" reversible pens. 

THEARTICAL SLIDES. 

Letterers can easily add a profitable side line to their regular business by making theatrical slides. 

Any camera that will hold a 3-4-x4 plate will answer the purpose. 

The original copy usually is lettered on a I 1x14 (or proportionately larger) card. Lettering should be of a good 
bold face character allowing a good margin avoiding hair lines, which will "fill up" in developing to a black and white. 

Use a jet black ink on smooth litho coated white card or a thoroughly opaque white ink or paint on black card; pre- 
ferably 6 ply smooth railroad board which has a better working surface than ordinary show card board. 

Make your exposure on a slow "standard slide" which is twice as slow as the ordinary slide. Develope in contrasty 
Hydrochinon developer, if exposure is correct this will give you a clear, sharp, contrasty negative, which if containing let- 
tering only becomes the slide. 

After it is thoroughly dried, cover the gelatine side with another thin piece of plain glass to prevent scratching during 
handling, bind together with gummed binding strips. 

If colored slides are wanted, use regular transparent slide colors with soft camel hair brush on gelatine side of slide 
before binding together. 

If the job calls for a picture or photo in connection with the lettering, you will have to make a print from the negative 
on the slide, in subdued light, develope as before and bind. 

Quick slides for rush jobs can be lettered directly on the blank glass 3^x4. We recommend the smallest size "Speed 
Ball" pen, using specially prepared "Speed Ball" ink, which will not spread from the pen on the glass and will not crack off 
from the heat of the machine. 

Cartoons or line sketches can be traced quickly and correctly by placing glass over drawing. 

(2&) 




S T5 



BO "^ 






o s 

'2 IS 

H CQ 



(29) 



■ir«^WifirrM'fiihrfffl:-irtiTiifii'""' '-nr n 



Round-point Speed-balT 
•iabcdefgrbijklnf)^ 

•opqrstavwxyz • 

•A6C0EFGHIJKLMN- 
•OPQRSTUVWXYZ- 



The round shoe "Speed Ball" "quick letterer" will produce a round finished letter instead of a square end. This will 
be edition No. 2 of the famous "Speed Ball" letterers. Watch for announcement advertising its arrival on the market. 
This will be the big "meal ticket tool" for the card writer or trimmer on real rush work. It also has the double reservoir 
automatic ink feed for white or opaque colors. 

(30) 




It's a wise and well spent dollar that purchases a set of "Speed Ball" pens and book. With very little practice the 
amateur letterer can become familiar with the construction of modern type faces, at a surprising rate of speed. The trimmer 
or decorator will increase his earning capacity. The professional show card writer can do three to five times the amount of 
work of superior quality in a given length of time. The commercial artist will find this pen the greatest help in bold line 
sketches. Lettering captions, titles, headings, etc. The draftsman can letter maps, plans, and tracings, etc., three times as 
fast as with an ordinary or ruling pen. 



(31) 



(j^peed-ball " broad $tro>se 5ttering9^ns 

The different style cliaracters produced by holding pen in 2 different positions. 



Position N'liniLiOL 



Hold pen af right-angle 
pointing squarely at top 
of page. the point. or 
flat marking shoe will 
produce a square dot. 

"THUS" uuiiLi which 

continued as a stroke 
forms any letter of the 
5lock or plain Gothic 
Series. 

'^rn same pen over on ib* 
bad it produces all the- 
Roman Series or 
(Dli^Sfnalisl] (Tharadcr^. 




Position W? 2 HI rviiniiii 



Hold the pen pointing at 
upper left hand corner 
of page, the flat marking 
shoe will produce a 
diamond shape dot .... 
'Thus"— tUsiii which 
continued as a stroke 
forms any letter of the 
Bold face Roman Series 



<^^ is practicallj/ a Soubic 
parpode pen. '^-in 1 " (L/ic 
Front for Heavy Face 
'v/ic back for ffairlinc^pes. 




The original of this plate lettered on 22x28 card with "Speed Ball" No. I and 2, the hands illustrating positions I 
and 2 were held in position as shown herewith and the whole photographed together to reduce to this 5x7 cut. 



(32)= 



JOYCEOFT DISPLAY 

abcdefgrhijklmnopqrstuvwxyz at ivm fKe. 
ABCDEFGHIJKLMNOPaRSTVVWXYZ 







••• y^W^ ••• 



m> 






r^t' 





Jensen Bold Condensed 
abcdefghijklmnopqrstuvwxyz 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

Original size 10x14, showing modern standard alphabets, slightly modified, built up with the small size "Speed Ball" 
(jen. The decorative monograms may be first lightly sketched in with a pencil, then inked up with bold broad strokes, much 
more effectively and quickly than with an ordinary line pen. 



(33) 



abcdeighijklmnopqrstuvwxyz &i . 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ahcdBfghijklmnnpqrsluvLUxyzs blocks 
ABCDEF&HUKLMNDPDRSTUVWXYZ 2(Cd. 




W. 



ABCDEFGHIJKLMNOPORSTUVWXYZa 

abcdefghijklmnopqrstuvwxyz gothic 

S-lDc:cie£gln.ijklrn.r\opq^iPS-tu.xj-txrx.y z Sngrossing 
QBCPBSF5'eHI^JKL2giigiMO©PQRSGT^<V<WXSJYZ?S^ 

Reduced from 10x14 drawing with "Speed Ball" j>en No. 5. Check effect in decoration done with one square dot of 
pen No. 1 . Top alphabet is made with double stroke of small pen on heavy parts of letters and single stroke on fine lines. 

(34) 



abcdefg'Kijklmi\^pqrstuvwx^2 aad 








abcdefghijklmnopqratuumijz Cordon ^xt 

abcdofgliijldm nopqr9t uvvxy z 81 

QDOD[rOHIc)KLnNOPQR9TUVVXTZ. 

Decorative and semi-decorative alphatbets of unique character made by the single stroke method at a surprising rate of 
speed. Any size up to 2 inches in height with the largest sizes of "Speed Ball" pens. 



(35) 



One 
Thousand 

9uggG>stioiis 

Wedding Gift? 



Effects 



,£adie9 
Balmacaan 



/ 1 



Choice I 

I5f 





^ ddvertismg Cuts. ^Tp^ 

k big Kii pry . 



Price? TickQtP 

made with 

ONE STROKE - 

of tlie 

Speed- ball Pen. 

Voiks equally mell in IfA/re or Coioi\s. 



ly to 

ord 

4t 




'C^-for 



iXiy^ -loiniGi 
price 

♦ 35" 



NOW 



♦Ift^" 




Q^our Choice 

6rt7y. 



T.d<.y ^ r>5o 



litipofted 
Cli evict 



oo 



london's 
latest 'aCo 



•Cravenette 



# 36°-^ 



speed-Ball' refers to the "Name "of the Pen — 

-there is no Ball point, it is unlike any tool offered for 
sale anywhere- Contrived and perfected by Hugh Gordon 
and Ross F.George. June 15-1913. to Sept. 1.1914 



Double St rok.e 
F I c u R. E s 

-sf? Speod-bdil 

125^3 



The modern show card writer, must of necessity, be able to turn out large quantities of work in a limited time. The 
"Speed Ball" p>ens will enable the ordinary workman to produce high grade work at top speed. It's all in the pen. Cuts 
your time in two and your labor in half. 



(36) 



THE GROWING DEMAND FOR GOOD LETTERING. 

The finest quality of lettering which is used for advertising purposes is the kind in which there is the most money for 
the advertiser, also for the one who produces such work. This growing demand for a better grade of lettering is due to the 
fact that the public has at last awakened to the educational value of good work. Now to do good work one must have the 
correct tools. 

That the demand for high grade work will continue to increase is a recognized fact; for the constant development of the 
esthetic sense in our educational institutions is bound to produce notable and lasting results. 

While we may not have passed completely through an era of cheapness. There is less desire for the cheap article than 
there was a few years ago, that is, if the lowness of the price is at the sacrifice of elegance, worth and good taste. 

In the beginning of things; our prehistoric ancestors used elementary sounds to convey thought. The next evolution 
produced signs representing elementary sounds. Historically the Greek Hyroglyphs are the source of all existing alphabets. 

Without entering into various theories it may be stated that the Roman letters derived their birth from this source, and 
in their various modifications remain with us today. In other words they form the basic principle of most ; if not all our 
modern alphabets. 

Returning to the beginning: we take up the manner in which these characters were produced. It goes without saying 
that the tools used were marked by extreme simplicity; the first marking tool of the lettercrafters is supposed to be the reed; 
which has been traced back as far as the 1 5 th century, B. C. The quill superceded the reed in the 8th century and has been 
used from that period up to modern times in which the pen of steel enters the field. Spencer, the originator of our present 
system of Spencerian script, used a quill sometimes in preference to the steel f)en and right here I want to say "that the pro- 
fessional penman of today" with the latest edition of steel pens has to show extraordinary class to produce as clever a copy 
as "father Spencer" could knock out with a quill pen, fashioned to his particular fancy and requirements with a knife. Note: 
Hence the name, "Pen knife." 

Hand craft lettering, one of the oldest of the applied arts fell into general disuse with the advent of printed letters in 
the 15th century. This art was later revived in preparing designs for ornate book plates, titles, etc., and in the engrossing of 
one copy jobs such as charters, certificates, memorials, diplomas, etc., which work was usually done on parchment or papyrus. 

Some of the most beautiful and costly examples of lettering, and illuminating known to the art were produced by hand; 
with nothing further in the way of tools than various shaped quills and brushes of hair or bristle in the ornamentations thereof. 
The characters used were mostly of the text variety; which we have with us today in the various adaptations of old English 
and German texts, Italian and French scripts, and the Spanish bastarde styles. 



(37) 



These are all very beautiful in an ornamental way; but have fallen into general disuse in the present day with the 
exception of certain modern derivations of Roman and Egyptian types which bear but slight resemblance to the originals aside 
from the basic principles. 

Most of our modern and universally familiar newspapers and book types are of a character that is extremely difficult 
to copy by hand with any degree of speed using the ordinary pens and brushes which have heretofore been the only available 
tools, most of them have to be first outlined, then subsequently filled in, which method, must of necessity be an extremely 
slow and tedious process ; and further, it requires extraordinary skill on the part of the workmen to produce even a fair imita- 
tion of these accepted styles. The fact has given rise to the theory that to be a good letterer or penman, one must be pos- 
sessed of a natural aptitude or talent. As our forefathers would say "gifted," this fallacy probably accounts for the 
rather indifferent penmanship displayed by otherwise well educated people of the present generation, who have accepted this 
theory as an excuse, that unless "dame nature" had a linger in the pie; it was useless to try further than the first few feeble 
efforts and let it go at that. 

Let it be understood that we do not belittle this natural talent idea ; every day we are taking off hats to genius. It 
matters not what branch of the arts and crafts or other manifold accomplishments to which it applies, be he either naturally 
a "good shoveler or peddler of junk," he is entitled to just as much praise in his particular line as a Rembrandt or Beethoven 
in art or music, but, even in the absence of nature's sustaining influence it does not necessarily follow that the average human 
is forever barred out from these sacred precincts, the 20th century idea is to "butt right in" and try anything once, and if 
we can not accomplish our aims by one method to try another. 

The chances are favorable that modern scientific methods, properly applied, will solve this problem of success. 

Our prehistoric ancestors carved their thoughts symbolic, on stone, later some genius with a labor saving prepensity made 
use of some liquid color pigment applied to the inner lining of a dried sheepshide or the bark of a tree, later converting some 
pulpy mass into papyrus which is with us today in the various forms of everything called paper, from society stationery to bank 
notes. 

Regarding pens as tools of the craft, we may state that of all branches of the applied arts, the tools of hand letter- 
crafters have up to the present time profited least by the onward march of progress; today we are only two jumps ahead of 
our prehistoric ancestors. It is unnecessary to state that the art of modern hand lettering has derived its present popularity 
and commercial value with the advent of process engraving, which requires original design or copy in black, white and colors. 
This art, together with the increasing demand for hand lettered show cards as a direct sales message ; has opened up a prac- 
tically new field in lettercraft which offers remunerative employment to thousands of men and women. The chief requisite 
however, being "speed" in the execution of the most generally accepted familiar types of a thoroughly commercial character 



(38) 



minus the brain storm curly cues of the "natural talent" genius. The demand for a commercial class of work has in turn called 
for some pen, tool or device that would successfully produce these characters at a degree of speed consistent with the rush of 
modem business methods. 

Mechanical genius seems to have exhausted their resources in attempting to devise some tool that would successfully re- 
produce by hand, the modern type faces, most of these attempts have either been failures or near-failures. 

It has been a long-felt want unsupplied that has prompted some of the lettercrafters themselves to enter into a series of 
experiments along this line regardless of the science of mechanics, resulting in producing an almost complete revolution in the 
construction of a pen that will produce with almost incredible rapidity ; any of the antique or modern alphabets by the one 
stroke method, the bold heavy face types are produced by a square or round shape, flat-plane comb shoe fed by an automatic feed 
ink retainer with an upper and lower reservoir, just sufficient ink or color being released from the upper and larger reservoir to 
keep the feed reservoir supplied with just enough fluid to complete each separate stroke, and no more, thereby preventing 
flooding. The alternate heavy and fine line series of alphabets can also be made by turning the same pen over on its back, 
using the reverse pwint of flat shoe in contact with paper. The whole device is no larger than an ordinary pen point, fits any 
medium size holder, loads by dipping, just like any ordinary pen, and contrary to most ail other mechanical devices, it works 
successfully, and with ordinary care will last indefinitely. The speed with which this pen can be operated by either professional 
or amateur has suggested a name for itself, a chance remark, dropped by one of the first users, who happened to be a baseball 
fan as well as a letterer. "It's a Wiz" and certainly is a "speed ball" and so that is what it was and is. The "Speed 
Ball" pen. The Little Wizard of Lettercraft, and the manifold stunts it will perform is attested to by all who have tried it 
and all who have seen its work, of which herewith we present a few specimens. The various possibilities of this wonderful 
device compared with other lettering pens will not become apparent with the first trial. The following suggestions will be 
of importance. First: The selection of ink or color to be used to the best advantage. 

Without the proper ink it is impossible to get the best results from any pen. Thin, watery, transparent inks are of no 
use at any time, neither will thick, gummy, sticky masses be productive of good results. 

The various drawing inks either ordinary or waterproof are heavy fluids which are apt to flood or spread if the excess is 
not shaken out after dipping. The peculiar construction of the "Speed Ball" admits of using any finely ground show card 
colors, either black, white, tints, or colors, if treated in the following manner; 

First the colors should be free from lumps and grit thoroughly stirred up and thinned to the proper consistency with mucil- 
age or gum water. The addition of a few drops of alcohol will help the flowing quality, especially where rough surface blanks 
or mat boards are used, however, a good litho coated card will be found by far the best for any kind of pen work, a very good 



09) 



black ink for pen work can be made by dissolving water soluble nigrosine dye in hot water, to which add a very small quantity 
of mucilage or gum water, and a few drops of alcohol, keep this well stirred and your ink troubles will be few. If the dye is 
not obtainable take a thin mixture of distemper lamp black, and add about -4 part of letterine — this is also good dope. Bis- 
sell's black, thinned with water will produce excellent results. Remember, constant stirring and proper dilution is the secret of 
good results from any ink that contains body pigment, if colors of this nature are allowed to settle they become worthless. 
The water and mucilage remain on the top and produce thin streaky non-covering lines. 

For pen white, take ordinary flake in distemper, add one-third Green Seal French Zinc, sufficient mucilage or gum 
water to prevent rubbing and finally, a few drops of alcohol, to cause it to flow freely, this mixture, kept well stirred up, will 
give better results than most prepared white inks. 

A good white pen ink is made by mixing zinc oxid (Chinese white) ground very fine with mucilage of tragacanth and 
adding a few drops of carbolic acid to preserve it. 

The ordinary natural position of the hand as in writing is the best. Use a combined forearm and finger movement; keep 
the flat part of the shoe evenly on surface, do not attempt to force a flow of ink by pressure. If the ink does not flow, it is 
too thick; if it flows too freely, it is too thin; if it does not cover thoroughly, it is not well stirred. A little judgment will 
regulate these matters. 

India ink imitation (China ink) : Mix finest lamp black, purified by washing with a weak solution of caustic soda and a 
little alcohol with a solution of ten parts brown shellac and three part borax dissolved in boiling water, adding ten parts ni- 
grosine black; strain thoroughly. 

Many letterers will condemn a brush or pen off hand; not realizing that the ink or color must positively be right and in 
the very best of condition to get good results, personally I have noticed in using pigment colorings, in any pen or brush, that 
the dope will evaporate, settle and thicken in a few hours, sufficiently to change the character of the work or the handling of 
the pen. The cause is easily remedied if the foreaoing suggestions be adopted. Never wipe any pen with a cloth, that 
spells disaster to the pen. It should be rinsed out like a brush in a dish of water kept conveniently handy, and if it is set 
aside and the color allowed to harden and cake up in the point or heel, use an old tooth brush dipped in water to clean 
it out. 

With ordinary care a "Speed Ball" pen can be used for months, but it is not a shovel, so do not dig it into the surface. 
That is unnecessary, it will ruin the pen and produce an inferior ragged quality of work. 

GORDON & GEORGE, 

Patentees of the "Speed Ball" Pen. 



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